Jan Weis

Promiss us that you will read atleast one book about cinematography before you even touch a camera, matthew.

What you need is a either a tobin crystal sync motor or a constant speed motor for your arri S, And sound barney's arent exactly that easy to purchase now adays. Try putting a couple of layers of blankets over your camera or shoot from inside a car or just symply use a telephoto lens. /Jan

''Oh no, hope there wasn't anything on the film that got ruined with the jam.'' thankfully I managed to save 2/3 of the roll (the most important parts) As you can see I have the one of the newer models number 12111 to be exact. The Jam occured in the gate I persume since the film started looping in the red marked area until it jammed completly. ''How was the camera kept between when you loaded it and when it jammed? Humidity and heat can effect the film, both being bad for it.'' It was kept at home at aproximately 25-30 degrese celsius or 77-86 F ''When was the last time the camera was serviced?'' I dont think it has ever been serviced, and if it has, it must have been years ago. The previous owner kept it in his collection for years without using it. The camera looks as though it was barely used. ''Was the rest of the film okay? Did the developed film look fine?'' I havent had a chance to develop it quite yet but I will try to. I thinkl I saved most of it by simply cutting the jamed film in the dark and placing the the film which did end up in the 2nd roll into the plastic case the 100ft rolls come in. Thanks for the answers I hope it was just pure bad luck and that nothing's wrong with the camera! /Jan

I'm kind of suprised it even happend, I wasnt expecting it. Well here's the story: About two weeks ago I load my arri 16s with some Plus-x 7231 film and shot approximately one third of the 100 ft roll, then a couple of days ago I shot the 2nd third of the roll and now today when I was shooting the last 33ft of the plus-x rolls the unexpected happend. The film jammed. I dont understand how this could have happend at the end of the film, its something I'd expect to at the begining but never the end. Can anybody explain why this happend, was it just a fluke? P.S. yes I did make sure that the claw ''caught'' the film correctly in the gate. Please enlighten me. /Jan

So What was the big reason for shutting down most of the 65mm productions?Did it have something to do with money? Or did the screens just get smaller? ;)

I'm with Tim , that arri 16s looked pretty beat up atleast compared to ''my'' (lent) camera which doesnt even have the bottom (tripod mount thingy) worn out. P.S. Since we're sort of on the subject of constant speed motors, does anybody have an idea where I can possibly get a hold of one? /Jan

What I dont get is what the bloody point was with shooting film in 65mm back in the good old days, it must have cost a fortune... Well I guess it was suppose to compete with television, thats the only reason I could come up with.

I'm sorry to be the one to tell you this, but none of your links work. Is this a marketing trick, Tim ? Because I'm getting pretty curious to hear your results! /Jan

I believe Kubrick used a Eyemo to shoot his second feature, Killer's Kiss. According to imdb it was used in the boxing sequences.

IF you want to save costs, and you want less grain than Double-x 7222, and if you dont shoot in the dark then I guess Plus-x 7231 should do the job rather well. //Jan

Thanks for tha answers, Mr Pytlak!

Thank you form bringing this problem up, Mr Pytlak. According to the manual, the light meter is calaborated to a ''regular'' light bulb ( 40W is my guess) so its caliborated to 2856 Kelvin. Will this be a problem ?

The day before I was going to shoot my first scene of my short film I went to visit the ''set'' actually its nice tunnel in the center. Since I didnt have my own light meter I decided to just rely on the one built in on my Beaulieu R 16, unfortunetly that was one of the biggest mistakes I could possibly do since my light meter broke. the needle in the tachometer didnt even flinch. The next day I started to do some research on light meters and unfortunetly the light meters on ebay (the good ones like sekonic) cost a fortune to purchase, this made me look else were... I went to the local hardware store and found this neat light meter that measure light intensity in LUX. So i bought it for around 30 euros. Afterwards I did my reasearch till I found a nice table that shows how to set the appeture on lens at the amount of light avalable in footcandles. This of course caused some trouble, since the light meter didnt measure the light intensity in Footcandles but in LUX. So I did even more reasearch and found that 1 foot candle = 10.764 LUX, so i converted the table, well just on two sensitivities 64 ASA & 80 ASA because I'm using plus-x film and this is what got: As you guys can see this is a table of number of LUX needed for each appeture setting. oh yeah this table only works of your shooting 24/25 fps heres a nice picture of the light meter: So what do you guys think? //Jan

I'm glad it wont be the end of the world if I mess the ASA setting up but I'm even glad that I now know what ASA to set it as and for that I thank you both John & David. //Jan

Imagine this, You are in a building which is lit by sunlight from the outside through windows. Do I set the the film speed as outdoors or indoors. I assume that I should set it as out doors since it is sunlight we're talking about but I want to make sure not to make a mistake after all its my first short film. here's a shot of the set: //Jan

I havent had any experiance with this camera but all i can say is that this is suppose to be the ''smallest'' professional s16 camera with crystal sync. The first models didnt have a reflexive viewfinder ''because it would make the camera too big and expensive'' according the manufacturer. However the manufacturers eventually changed their minds so the latest version of this camera now has a reflexive viewfinder (praise the lord). more info: http://www.ikonoskop.com/ //Jan

thanks for the tip,Stuart I'll order it on amazon today. I wasnt planning on using 1 minute dialogue well all accept one speach, and I have kept in mind that fact that I'll have sync problems while writing my script so its become more visual than soap opera like. Gotta go now and order that damn book! Thanks once again.

I'm facing a similar problem but I'll be using a beaulieu R16 with an electric motor. Will it hold sync under a minute of dailogue? //Jan

Just do ADR in post production

No, all three of my films turned out almost perfect, nothing ended up jumpy or blurry but I guess it can happen.

Thanks for noticing :D

Here's my Beaulieu R16, i believe its an automatic. I got it a couple of months ago for a pretty decent price. Its no Arriflex but it does the job...

I dont want to seem like a dumbass here but, isnt the contrast provided by reversal b&w enough? I mean negative film has less contrast and there fore ''needs'' to be compensated with different kinds of coloured filters but when it comes to reversal the amount of contrast is high enough. What I mean is I've never heard of anyone using a coloured filter such as red or orange on b&w reversal still photography. //Jan

This whole situation reminds me of that video game console (cant remember the name) that was supposed to be great (specs-wise) but it never pulled through.

I checked out their site and it seems that ORWO B&W negative films are only avalable in 400 ft, my camera only takes 100 ft. This is a problem, but thanks for sharing! Thats some good advise you got there, ''think in black & white'' I'm starting to think a red filter will be very useful in situations when its hard to create true b&w.